The District’s Jazz Renaissance

Thirteen years ago, drummer John Heinze played U Street mainstay Velvet Lounge while on tour, and some gravity comes into his voice as he depicts the scene that evening.

“It was a Thursday night and there was no one out on the streets,” he says. “It was a ghost town. And it wasn’t a holiday, it was the dead of summer. There was nothing going on.”

That DC isn’t the one he knows today. After talking to Heinze, now part of funk-with-soul band Aztec Sun, and other local artists, I pieced together that our jazz community is so small that nearly everyone seems to know one another but big enough that you can find shows all over town – if you know which doors to look behind.

The DC jazz scene is undergoing a revitalization spurred by younger musicians committed to keeping the vibrant genre alive. Though the music may seem old-fashioned on first mention, artists like Heinze are finetuning the jazz experience to engage newer generations.

Heinze moved here from Chicago five years ago and quickly became involved in the jazz scene through “musician connecting organization” Flashband and by seeking out open jams. He serves as my introduction to this world, telling me where I should go and on what night – and who I might look to talk to.

Balbed has been on the DC jazz and go-go scene since 2005, when he started playing clubs like Twins Jazz at age 15. Four years ago, he started “genre-bending ensemble” the JoGo Project, inspired by his time performing with Chuck Brown.

He tells me the jazz scene is extremely close-knit, and I see what he means. There are faces I recognize at shows from other jams around town. When Balbed’s not hosting sessions at Maddy’s, you can catch him as one of the featured artists at Brixton’s Sunday night jams and at Pearl Street Warehouse for his Southwest Soul Sessions cohosted with drummer Isabelle De Leon.

Spots on Balbed’s short list of favorite spots include Hamilton Live and Blues Alley, but smaller bars and clubs aren’t the only venues promoting DC jazz. The Kennedy Center’s Millennium Stage series offers free shows of outstanding quality, and community stalwart the Anacostia Arts Center (AAC) hosts the Second Sundays Jazz series.
Kadija Bangura, the AAC’s marketing manager, says that curator and noted jazz musician Vernard Gray is spearheading the initiative, which includes featuring artists who often fly under the radar.

“We’re looking forward to being introduced to jazz talent that doesn’t receive the same attention from major clubs in the city,” Bangura says.

Because some of our beloved jazz venues have recently closed their doors, the AAC’s continued support is imperative for people in Anacostia and from around the city. The center has created a space for fans to watch younger musicians’ first chance to be in the spotlight, an undeniable asset to the genre and the District as a whole.

“We typically pull fans of jazz music from the community,” Bangura continues. “We provide jazz even as other venues close.”

Balbed and I talked about some of those notable low points – the shuttering of Bohemian Caverns chief among them. The U Street Corridor institution hosted a score of names since its founding in 1926; in fact, the space has remained empty, and you can even see its sad piano roll marquee still on the building. But the saxophonist doesn’t seem too discouraged. He believes the musicians will keep the jazz scene going regardless of any obstacles.

“There have been some down points,” Balbed says. “But even with the venues closing down, the energy of the musicians never dies. Venues will come and go, but as long as the musicians are around, they’ll keep the scene alive.”

Michael Loria is a writer who focuses on art and music. For On Tap, his work includes a cover story on the Principal Conductor and Music Director of the National Symphony Orchestra, Gianandrea Noseda, for the December 2017 print edition, and features like his interviews with Carla Bruni and with Thievery Corporation. Collectively, he's penned more than 40 clips for the magazine.